An Analysis of Non Literal Meaning in William Blake’s Selected Poems

AN ANALYSIS OF NON LITERAL MEANING IN WILLIAM BLAKE’S SELECTED POEMS

A PAPER

BY

TIKA WARDHANI REG.NO : 112202054

DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY

UNIVERSITY OF SUMATERA UTARA MEDAN

Approved by Supervisor,

Dr. Deliana M.Hum

NIP: 19571117198303 2 002

Submitted to Faculty of Culture Study, University of Sumatera Utara In partial fulfillment of the requirements for Diploma-III in English Study Program

Approved by

Head of English Diploma Study program,

Dr. Matius C.A Sembiring, M.A NIP 19521126198112 1 001

Approved by the Diploma-III of English Study Program Faculty of Culture Study, University of Sumatera Utara As a Paper for the Diploma-III Examination

Accepted by the Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-III of English Study Program, Faculty of Culture Study, University of Sumatera Utara

The examination is held on

Faculty of Culture Study University of Sumatera Utara Dean,

Dr. Syahron Lubis, M.A Nip: 19511013197603 1 001

Board of Examiners : Signature

1. Dr. Matius C.A Sembiring, M.A (Head of ESP) _____________ 2. Dr. Deliana, M.Hum (Supervisor) _____________ 3. Drs. Umar Mono, Dipl. Tran., M.Hum (Reader) _____________

AUTHOR’S DECLARATION

I am, TIKA WARDHANI, declare that I am the sole of author of this paper. Except where reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree.

No other person‟s work has been used without due acknowledgement in the main

text of this paper. This paper has not been summitted for the award of another degree in any tertiary education.

Signed : Date :

COPYRIGHT DECLARATION

Name : TIKA WARDHANI

Title of paper : AN ANALYSIS OF NON LITERAL MEANING IN WILLIAM BLAKE‟S SELECTED POEMS

Qualification : D-III/Ahli Madya

Study Program: English

I am willing that my paper should be available for reproduction at the discreation of the Libertarian of the Diploma III English Study Program Faculty of Letter USU on the understanding that users are made aware of their obligation under law of the Republic of Indonesia

Signed : Date :

ABSTRACT

This paper entitled “An Analysis of Non Literal Meaning in William

Blake‟s Selected Poems” analyzes type and meaning of non literal meaning or not

the real meaning in ten poems by William Blake. This paper uses library research that refers to book and internet. Beside the library research, this analysis also use descriptive qualitative while for collecting sample uses purposive sampling method. This paper uses Saeed theory about the types of non literal meaning. From the analysis, found that William Blake uses many non literal meaning in his poems. On the whole, it is found 2 cases of simile, 4 cases of metaphor, 24 cases of personification, and 5 cases of hyperbole.

ABSTRAK

Kertas karya ini berjudul “An Analysis of Non Literal Meaning in William Blake‟s Selected Poems” menganalisis jenis dan makna non literal yang tidak

dapat diartikan secara harfiah atau bukan makna sebenarnya pada 10 puisi karya William Blake. Kertas karya ini menggunakan metode pustaka yang merujuk kepada buku dan internet. Selain metode pustaka, analisis ini juga menggunakan metode kualitatif, sedangkan untuk pengambilan sampelnya menggunakan metode purposive sampling. Teori yang digunakan adalah teori Saeed tentang pembagian tipe non literal meaning. Dari pembahasan tersebut, ditemukan bahwa William Blake banyak menggunakan non literal meaning pada puisinya. Secara keseluruhan, ditemukan 2 kasus simile, 4 kasus metafora, 24 kasus personifikasi, dan 5 kasus hiperbola.

ACKNOWLEDGEMENTS

Bismillahirrahmanirrahiim…

First of all, I would like to say big thanks and grateful to the Almighty

God Allah Subhana wa Ta‟ala who always give me healthy and capability to finish this paper without any big trouble and salam to Rasulullah Shalallahu

„alaihi wa sallam. I‟m so lucky because there are so many people who always give me support and guidance during finishing this paper. I wish to express my great gratitude to these following people.

1. My special gratitude to my beloved parents, Agus P. Sakti and Rohimi who always give me love, caring, support, guidance and everything in accomplishing this paper. And also the warmest thanks to my little brothers

Edo Sugardha and Meidi Rofik for our togetherness in making fun day. 2. Dr. Syahron Lubis, M.A as the Dean of Faculty of Culture Studies and Dr.

Matius C.A Sembiring M.A as the Head of English Study Program for the academic facilities and guidance during my study in the faculty.

3. Dr. Deliana M. Hum as my supervisor who always give her precious time, advices, suggestion and guidance in accomplishing this paper.

4. Drs. Umar Mono, Dipl. Tran. M. Hum as the reader that willing give his valuable time for me in accomplishing this paper.

5. All the lecturers of English Department for their valuable knowledge and advices during my study in the faculty.

6. My best friend ever in campus, Khairunnisa Lubis, Farah Diba and

Halimah Tussadiyah who always colouring my day. Thanks for our togetherness in passing sad and happy moment girls.

7. All of my family, my grandpa and grandma, my aunty, Bang Dana and my cousins Kak Anhar, Kak Ulan, Mbak Vira, Mbak Fani and my dearest other cousins who can not be mentioned one by one, thank you so much for your support and prayer.

8. My other best friend, Juju, Agil, Irna, Maharani, VG who always give me a fun things and support me. I also thanks to all of students in English Diploma 011 Class A and especially to Class B (Amel, Nisa, etc) who always give support to each other.

Medan, The Writer,

Tika Wardhani Reg. No: 112202054

TABLE OF CONTENTS AUTHOR’S DECLARATION

COPYRIGHT DECLARATION

ABSTRACT ... i

ABSTRAK ... ii

ACKNOWLEDGEMENTS ... iii

TABLE OF CONTENTS ... v

1. INTRODUCTION 1.1 Background of Study ... 1

1.2 Problem of Study ... 3

1.3 Objective of Study ... 4

1.4 Scope of Study ... 4

1.5 Significance of Study ... 4

1.6 Method of Study ... 5

1.6.1 Research Method ... 5

1.6.2 Data Collecting Method ... 5

1.6.3 Data Analyzing Method ... 5

2. REVIEW OF RELATED LITERATURE 2.1 The Definition of Semantics ... 6

2.2 The Scope of Semantics ... 7

2.2.1 Meaning ... 8

2.2.2 Sense and Reference ... 10

2.3 Varieties of Meaning ... 11

2.3.1 Literal Meaning ... 12

2.3.2 Non Literal Meaning ... 12

3. ANALYSIS 3.1 Simile ... 17

3.2 Metaphor ... 18

3.3 Personification ... 18

3.4 Hyperbole ... 22

4. CONCLUSION AND SUGGESTION 4.1 Conclusion ... 24

4.2 Suggestion ... 24

REFERENCES ………... 25 APPENDICES

ABSTRACT

This paper entitled “An Analysis of Non Literal Meaning in William

Blake‟s Selected Poems” analyzes type and meaning of non literal meaning or not

the real meaning in ten poems by William Blake. This paper uses library research that refers to book and internet. Beside the library research, this analysis also use descriptive qualitative while for collecting sample uses purposive sampling method. This paper uses Saeed theory about the types of non literal meaning. From the analysis, found that William Blake uses many non literal meaning in his poems. On the whole, it is found 2 cases of simile, 4 cases of metaphor, 24 cases of personification, and 5 cases of hyperbole.

ABSTRAK

Kertas karya ini berjudul “An Analysis of Non Literal Meaning in William Blake‟s Selected Poems” menganalisis jenis dan makna non literal yang tidak

dapat diartikan secara harfiah atau bukan makna sebenarnya pada 10 puisi karya William Blake. Kertas karya ini menggunakan metode pustaka yang merujuk kepada buku dan internet. Selain metode pustaka, analisis ini juga menggunakan metode kualitatif, sedangkan untuk pengambilan sampelnya menggunakan metode purposive sampling. Teori yang digunakan adalah teori Saeed tentang pembagian tipe non literal meaning. Dari pembahasan tersebut, ditemukan bahwa William Blake banyak menggunakan non literal meaning pada puisinya. Secara keseluruhan, ditemukan 2 kasus simile, 4 kasus metafora, 24 kasus personifikasi, dan 5 kasus hiperbola.

1. INTRODUCTION 1.1 Background of Study

In daily activities we always use language because language is a tool of communication. Without language we can not understand what people says and thinks. Besides, language has a great position in human life, it expresses human‟s feeling in interacting to others. Halliday and Hasan (1976:8) say that by using language, human can convey their idea, make statements, explain or ask about something and keep social relations among the language users.

Katz (1972: 1) says that semantics is the study of linguistic meaning. It is concerned with what sentences and other linguistic object express, not with the arrangement of their syntatic parts or with their pronounciation. In semantics, meaning can be divided into two parts. They are literal meaning and non literal meaning. Literal meaning means what exactly someone says based on the real or lexical meaning of the utterance. Non literal meaning always has different meaning from the literal one. It means something different from what the words mean.

Saeed (2003:15) states that the concept of non literal meaning refers to figurative language and are expressed by a host of rhetorical terms such as metaphor, simile, metonymy, synecdoche, hyperbole, litotes and personification.

Non literal meaning is often found in literary works such as: poem, novel, short story, play, or even lyric of song. In this paper, I am interested to analyze non literal meaning in poem because it is very interesting to study the non literal meaning of the poems.

Roberts (1995:642) says the origin of the word of poem derives from the Greek word poiema, that is, “something made or fashioned (in the words)” – a meaning that applies to both poetry and poems. Poems are imaginative works expressed in words that with the utmost compression, force, and economy. Unlike prose, which is expansive and exhaustive, most poems are brief but also comprehensive, offering us high pointsof thoughts, feeling, reflection, and resolution. Some poems may make us think, give us new and unexpected insights and generally instruct us. Other poem may arouse out emotions, surprise us, amuse us, and inspire us. Ideally, reading und understanding poetry should promt us to reexamine, reinforce, and reshape our ideas, our attitudes, our feelings and our lives. Every poem has the characteristic. The key of the characteristics are : 1) Figures of Speech

Figures of speech, or figurative language, are ways of describing or explaining thing in a non-literal or non-traditional way. For example, a metaphor describes something by likening it to something else.

2) Descriptive Imagery

Imagery is something concrete, like a sight, smell or taste. Imagery describes what the poet sees, hears or otherwise sense, be it a literal imager or one that exist in his mind. Visual imagery is the most common type of image in a poetry.

3) Punctuation and Format

The punctuation and format of the poem deal with how it is arranged on the page and how the author intends for you to read it.

4) Sound and Tone

Poets use different sounds and tones throughout poetry to change the way it sounds. For example, the poet may use alliteration, which is when multiple consequtive words start with the same letter.

5) Choice of Meter

The meter of a poem is the rhythm or pattern of speech with which you read it, and it doesn‟t happen by accident.

The object of the study is poem. Poem is one of media that we can express ourself. Today, we may find poems on virtually all topics, love, society, individuality, government and politics, worship and music, to special and unusual topics like fishing, computer, exotic birds and car crashes. In short, poetry is alive and fluorishing.

Based on the phenomenon above, I like to study about some expressions in the poems especially in the non literal meaning. In this research, I choose some poems from William Blake because I find so many non literal meaning expressions in that poem.

1.2 Problem of Study

Based on the background explained above, the writer would like to focus the analysis on the non literal meaning in William Blake‟s selected poems. The problems are :

1) What types of non literal meanings are found in William Blake‟s Selected Poems?

2) Which is the most dominant types of non literal meaning found in William

1.3 Objective of Study

Concerning to the problem of the study explained above, the objective of the study can be formulated below :

1) To find out the types of non literal meaning found in William Blake‟s Selected Poems

2) To find out the most dominant types of non literal meaning found in

William Blake‟s Selected Poems 1.4 Scope of Study

In a research, it is important for the writer to limit the analysis in order to concentrate that has been chosen. This paper is limited to discussion of the types of non literal meaning from Siswantoro (2002:10) whereas description are summarized from Wren Martin (1990: 359) and Keraf (1991: 12). There are nine types of non literal meaning based on Siswantoro‟s theory, they are simile, metaphor, personification, apostrophe, hyperbole, antithesis, synecdoche, paradox and symbol. However, in this paper I only analyze simile, metaphor,

hyperbole, and personification in William Blake‟s selected poems. 1.5 Significance of Study

The writer hopes that this paper can be useful for the student or the reader who want to know more about semantic especially in non literal meaning field. The writer also hopes that this paper can help the student to understand the meaning of the poems and get knowledge of it.

1.6 Method of Study 1.6.1 Research Method

The method of the study in this paper is descriptive qualitative approach. A qualitative approach is defined as a description of observations which is not ordinary expressed in quality terms. Nazir (1998:64) says that descriptive method is a method of research that makes description of the situation of event or occurrence.

1.6.2 Data Collecting Method

Nawawi (1991: 157) says that sample is a part of population to represent the whole population. The sample of this analysis are collected from William

Blake‟s selected poems. In the sample of analysis, the writer applies purposive sampling method. Nawawi (1991:157) saya that in this technique, sampling is adjusted with the purpose of the study. In another word, sample is adjusted with the certain criteria, which is decided based on the purpose of the study.

1.6.3 Data Analyzing Method

The process of analyzing data will be done in group. First, all data from

William Blake‟s poem is selected to find non literal meaning. Then, the data will be grouped according to the kinds of non literal meaning. For example, the first term is about personification, so I will collect all example of personification from the whole poem which is selected in group. The same thing will be done for other non literal meaning. And the last is to describe the meaning of each data. All the analysis will be done in the descriptive way by explaining one by one to each non literal meaning and find what the most dominant non literal meaning expression are found.

2. REVIEW OF RELATED LITERATURE 2.1 The Definition of Semantics

The history of linguistics shows periods in which semantics received more or less attention. In the nineteenth century linguists concentrated more on phonology and morphology and semantics suffered from comparative neglect. With the advent of structuralism at the beginning of the 20th century, it looked as if semantics might achieve the status it deserved. However, the development of American structuralism between the two world wars did nothing to further linguistic interest in semantics. Such prominent linguists as Leonard Bloomfield (active in the 1920s and 1930s) regarded semantics as too difficult to deal with scientifically and left it to one side. The same is true of early transformational grammar in the 1950s. Only in the mid 1960s did the interest of linguists turn to semantics once more. Since then there have been many works on semantics both within models of grammar and outside. Despite these efforts there are no coherent theories of semantics on a par with those in syntax and phonology.

Semantics is the study of meaning in language. Meaning is a much less tangible notion than those introduces in the above chapters on phonology, morphology and syntax. Meaning has a strong subjective element to it and it is spread across other levels of language as will be discussed below. It is also a contact area with other disciplines such as philosophy and logic. Philosophical semantics looks at the relations between linguistic expressions and the phenomena in the nonlinguistic world to which they refer and examines the

conditions under which they are true or false. This type of semantics goes back to Classical Greece, to the three main philosophers Socrates, Plato and Aristotle. In the sphere of logic, semantics is important as a system of logical analysis where it is not so much the relation between language and the outside world which is of concern but rather the internal formal relationships between terms in a logical system.

According some linguists, semantic can be defined as follows :

1) Semantic is the study of the meaning. It concerned with what sentences and other linguistics object express, not with the arrangement of their syntactic parts of their pronounciation (Katz, 1972:2)

2) Semantic is generally defined as the study of meaning (Lyons, 1977:2)

3) Semantic is the study of meaning communicated through language (Saeed, 1997:1)

4) Semantic is a mayor branch of linguistics devoted to the studyof meaning in language (Crystal, 1980:315)

5) Semantics is the technical term used to refer to the study of meaning (Palmer, 1976:1)

2.2 The Scope of Semantics

There is no very general agreement either about the nature of meaning or about the way in which it should be described. There are two major approaches to the way in which meaning in language is studied which is often very influential in determining facts of meaning that relevant to semantic of each. The first is the linguistic approach. Linguist have investigated the way is which meaning in a

language structure and have distinguished between different types of meanings and also semantic structure of sentences. The second is philosophical approach. Philosophers have investigated between linguistic expression such as the words of language, and persons, things and events in the world to which these word refer.

Although there maybe different approaches to semantics, three basic terms have been widely mentioned in this approaches, namely meaning, sense, and reference.

2.2.1 Meaning

According to Oxford Learner‟s Pocket Dictionary, meaning is defined as

the thing or idea that sound, word, sign, etc represents. There are some definitions of meaning from some Linguist, such as :

1) Meaning is a complex pheomenon involving relationship between a language and the mind of its speaker and the practical use which it is put (Nikelas, 1988: 231)

2) Meaning is a word of ordinary , everyday vocabulary in English (Lyons, 1977: 4)

The term meaning is derived from the word mean. It is fact that the verb to mean and the noun meaning have many distinguishable meaning. In everyday English, we use the word mean in a number of different ways :

1) They are so mean (cruel) to me

2) That was no mean (insignificant) accomplishment

3) This will mean (result in) the end of the second class citizenship 4) Without ice cream, life wouldn‟t mean anything (have any purpose)

5) I mean (intend) to help if I can

6) Keep off the grass, this means (refers to) you

7) His loosing his job means (implies) that he will have to look for another job. 8) Lucky Strike means (indicates) fine tobacco

9) Those clouds mean ( are a sign of) rain 10)She doesn‟t mean (believe) what she said 11)Procrastinate means (?) to put this thing off 12)In saying that, he meant (?) that we would leave,

The word mean in (1) to (10) has their “equivalence‟ in another word, while in the same word in (11) or (12) does not. The last two sentences, in fact, exemplify two importantly different sorts of meaning, i. e. linguistics meaning and speaker meaning. In (11) procrastinate has a linguistics meaning of to put thing off while in (12) meant refers to speaker intention or what message the speaker intends to say in his word.

In general, the linguistics meaning of an expression is simply the meaning or meanings of that expression in some form of language. For example, in one form of language, known as standard British English, the word run means something different in each of the sentences:

1) I like to run

2) The engines run well

3) They run a mail-order house 4) He scored a run in the third inning

There are two different sort of meanings, linguistic meaning and speaker meaning. In general, linguistic meaning is meaning of that expression in some from of language. Speaker meaning is what a speaker means in producing an utterance.

The following figure can show how meaning can have several distinctions : Meaning

_{Linguistic meaning Speaker Meaning}

Language-meaning Idiolect-meaning Literal Non Literal

Dialect Meaning

Regional Social

Figure 1 Some Varieties of Meaning 2.2.2 Sense and Reference

One important point made by the linguists Ferdinand de Saussure (1974), whose ideas have been so influential in the development of modern linguistics, is that the meaning of linguistic expressionns derives from the two sources: the language they are part of anf the world they describe. Words stand in a relationship to the world, or our mental classification of it: they allow us to identify parts of the world, and make statements about them. Thus if a speaker

says He saw Paul or She bought a dog, the underlined nominals identify, pick out or refer to specific entities in the world. However words also derive their value from their position within the language system. The relationship by which language hooks on to the world is usually called reference. The semantic links between elements within the vocabulary system is an aspect of their sense or meaning.

Words other than proper names both have a meaning and can be used to refer to things and objects. The German philosopher and mathematician Gottlob Frege proposed a distinction between the reference of a word and the sense of a word. The reference of a word and the sense of a word. The reference of a word is the object designated, while the sense of a word is the additional meaning. On the other hand F.R. Palmer (1976: 30) says that reference deals with the relationship between the linguistic elements, word, sentences etc, and the nonlinguistic world of experience. Sense relation is the complex system of relationship that hold between the linguistic elements themselves (mostly the words) ; it is concerned only with intralinguistic relations

Phrases, like words, normally both have sense and can be used to refer.

Thus, the phrase “The woman who is my mother” refers to a certain individual and has a certain sense which could be different from that of “The woman who married my father”, although both expression usually have the same reference.

2.3 Varieties of Meaning

There are two kinds of meaning in semantics , they are linguistic meaning and speaker meaning. Linguistic meaning is simply the meaning of that

expression in some form of a language. While, speaker meaning is what speaker means in producing an utterance. Speaker meaning consist of literal meaning and non literal meaning.

2.3.1 Literal Meaning

If we are speaking literally, then we mean what our words mean, the meaning of the utterance is the lexical meaning or literal meaning. There will be no important difference between the linguistic meaning and the speaker meaning. There is no hidden meaning and misinterpretation between the speaker and hearer. For more details about literal meaning, look at these examples :

1) I‟m hungry 2) He goes to school 3) She is my lecturer 4) They are having lunch

All the sentences above are literal meaning. We know clearly about the meaning of the sentence.

2.3.2 Non Literal Meaning

In using the langugage, a speaker may sometimes use a word to mean something different from what it means literally or what the words mean. The words, phrases, and the sentences have another different meaning than literal meaning. For more details about non literal meaning, look at these examples : 1) I could eat a horse

2) I am starving

All those examples above are non literal meaning. All the meaning f them are same. It means someone who feels very hungry.

According to Saeed (2003: 15) Non literal uses of language are traditionally called figurative and are described by a host of rhetorical terms including metaphor, simile, metonymy, synecdoche, hyperbole, litotes and personification.

1) Metaphor

Wren and Martin (1981: 489) says that a metaphor is an implied simile. It does not, like the simile, state one thing is like another or acts as another, but takes that for granted and proceeds as if the two things were one. Based on that statement, if we say He fought like a lion, that means we use simile. While if we say He was a lion in the fight, that means we use metaphor.

2) Simile

Simile is figure of speech in which there are two different things compared because they appear to be similar in at least one character. Simile is

introduced by the word like or as. A simile must compare two basic things that are found to be alike in an aspect. For the example :

1) His temper was as explosive as a volcano 2) He runs like a cheetah

From the sentences above (1) means his temper is being compared to a volcano in that, it can be sudden and violent. Sentence (2) means he runs so fast. So the speaker compare him to with cheetah, as we know cheetah is animal that running so fast.

3) Metonymy

Metonymy is a figure of speech characterized by the use of the name of one thing in place of the name of something that is symbolized. For example He bought a new chevrolet. Chevrolet is the one of the brand name of car. 4) Synecdoche

The word of synecdoche is derived from a Greek word “syneckdechestai” which means “to take up”. Siswantoro (2002: 39) says, “synecdoche merupakan gaya bahasa yang manifestasinya tercermin dalam kemasan sebagian tetapi yang mewakili keseluruhan. Synecdoche is a figurative expression which its manifestation reflected a part is used to designate the whole. For example He has many mouths to feed that in literal meaning this

statement means „He feeds many mouths‟. In this case, mouth is people who

are fed.

5) Hyperbole

Wren and Martin (1981: 491) says that in hyperbole, a statement is made emphatic by overstatement. In daily language, hyperbole appears in student circle when they will have an examination by saying I’ll die if I don’t pass this course. The word of die is overstatement because there is no people who will get die due to not pass an examination. The others example are : 1) I carry you heart with me

2) My heart feel dead before 3) On a great horse of gold

6) Litotes

Litotes is an understatement in which an affirmation is expressed by the negative of its contrary, often used for emphasis or ironically. To make it clear look the example: please come to my hut. From the sentence, as we know hut is very simple. Nevertheless, in this situation hut is not the hut, but actually, he has a big house. He does not want to tell the truth, he just trying to be low profile.

7) Personification

The word personification derives from Latin word „persona‟ means person, actor or mask and „fic‟ means to make. Then, personification is a figurative speech that giving human characteristics to an object. For example, the trees are afraid to put forth bud. This word trees in the sentence figure as a human being that has been afraid represent for fear or being frightened. Indeed such emotional feelings are shown as a natural reaction from human when they feel something wrong or being shocked. The others example of personification are :

1) The pen is dancing on the paper

2) Every night, the moon comes by just to say goodnight to me

The first sentence is considered as a personification because it considers the pen as an inanimate thing, which has human ability to dance. Literally, the sentence means that the pen is dancing on a paper just like a human. It is absolutely impossible. So, we have to take the meaning figuratively, which means that someone is using the pen to write on the paper.

The second sentence, we may see how the moon as the inanimate object is depicted as human. It is implies that the moon has legs to come by and talk by saying goodnight to me. Of course, it is impossible in real life. The possible interpretation for this expression is that the moon always shines every night as the sign for someone to sleep.

3.ANALYSIS

As the object of this research, the writer has chosen ten selected poems by William Blake. This paper only focus on four types of non literal meaning, they are simile, metaphor, personification, and hyperbole. In this analysis, I use alphabet for refer to the poem and number for refer to the line of the poems in next analysis. The data to be analyed can be seen in the appendices :

1) A Poison Tree (Data A) 2) London (Data B)

3) Laughing Song (Data C)

4) The Chimney Sweeper: A Little Black Thing Among The Snow (Data D) 5) Night (Data E)

6) The Schoolboy (Data F) 7) The Sick Rose (Data G) 8) To The Evening Star (Data H)

9) Songs of Experience: Introduction (Data I)

10) Two Sunflowers Move In The Yellow Room (Data J)

The following are the analysis of the data in finding non literal meaning :

3.1 Simile

1) The moon, like a flower (E5)

This line expresses simile because there is a comparison between the moon

and the flower and using the word “like” as a mark of comparison. As we

know the flower is a beautiful things. This line means that moon always seems beautiful.

2) My bright mane forever shall shine like the gold (E47)

This line expresses simile because there is a comparison between lion (the previous line) to the gold. This line makes the lion looks more prestigious

3.2 Metaphor

1) I was angry with my friend (A1)

This line is classified as metaphor because it compares the anger with his friend

2) I was angry with my foe (A3)

This line is classified as metaphor becauses it compares the anger with his foe 3) And there the lion’s ruddy eyes (E33)

This line is classified as metaphor because it compares the lion with ruddy eyes and makes the lion looks more prestigious

4) Night is worn (I13)

This line is classified as metaphor because it compares the night with worn. This line means frightening night is happening.

3.3 Personification

1) How the chimney-sweeper’s cry (B9)

This line expresses personification because it describes chimney-sweeper as inanimate object which can cry like human being. As we know the chimney sweeper cannot cry. The mean of chimney sweepers in this line is the children.

This line expresses personification because it describes the word green woods as inanimate object that can laugh like human being. This line show that the woods in good condition.

3) When the air does laugh with our merry wit (C3)

This line expresses personification because it describes the word air as abstract object that can laugh like human being.

4) And the green hill laughs (C4)

This line expresses personification because it describes the word green hill as inanimate object that can laugh like human being. It means that the hill full with green and so beautiful.

5) When the meadows laugh with lively green (C5)

This line expresses personification because it describes the word meadow as inanimate object that can laugh like human being

6) And the grasshopper laughs in the merry scene (C6)

This line expresses personification because it describes the word grasshopper as inanimate object that can laugh like human being. The grassshopper is very happy because of good weather.

7) When the painted birds laugh in the shade (C9)

This line expresses personification because it describes the word painted birds as inanimate object that can laugh like human being. It means that many birds tweet of each other facing the good weather.

This line expresses personification because it describes the chimney sweeper (in the previous line) can happy like human being.

9) And smil’d among the winter snow (D6)

This line expresses personification because it describes the chimney sweeper (in the previous line) can smile like human being.

10) Sits and smiles on the night (E8)

This line expresses personification because it describes the word moon (in the previous line) as inanimate object that can sit and smile like human being. It means that the moon have the bright shine in the night.

11) Farewell, green fields and happy groves (E9)

This line expresses personification because it describes the word groves as inanimate object that can happy like human being.

12) When the birds sing on every tree (F2)

This line expresses personification because it describes the word bird as inanimate object that can sing like human being

13) And the skylark sings with me (F4)

This line expresses personification because it describes the word skylark as inanimate object that can sing like human being. It means that the sky is so bright with blue colour.

14) Sit in a cage and sing ? (F17)

This line expresses personification because it describes the word bird (in the previous line) as inanimate object that can sit and sing like human being 15) That flies in the night (G33)

This line expresses personification because it describes the word worm (in the previous line) as inanimate object that can fly in the night. It means that the worm which thrown away to the flower.

16) Now, whilst the sun rests on the mountains, light (H2)

This line expresses personification because it describes the word sun as inanimate object that can rest like human being. It means that the sun is shining on the mountains on the daylight.

17) On every flower that shuts its sweet eyes (H7)

This line expresses personification because it describes the word flower as inanimate object that can shut its eyes like human being. It means that the flower still bud.

18) In timely sleep, let thy west wing sleep on (H8)

This line expresses personification because it describes the word west wing as inanimate object that can sleep on like human being.

19) The lake, speak silence with thy glimmering eyes (H9)

This line expresses personification because it describes the word lake as inanimate object that can speak silence like human being. It means that the lake looked sparkling view because of the reflection of the sunshine.

20) Ah William, we’re weary of weather, said the sunflowers, shining with dew (J1-2)

This line expresses personification because it describes the word sunflowers as inanimate object that can weary of weather like human being. It means that the flower can not survive in the light of the sun.

21) They arranged themselves at the window (J5)

This line expresses personification because it describes the word sunflowers (in the previous line) as inanimate object that can arranged themselves like human being. It means that the flowers try to avoid of the sunlight.

22) And counted the steps of the sun (J6)

This line expresses personification because it describes the word sunflowers (in the previous line) as inanimate object that can count steps of the sun like human being.

23) And they both took root in the carpet (J7)

This line expresses personification because it describes the word sunflowers (in the previous line) as inanimate object that can take the root in the carpet like human being

24) Where the topaz tortoises run (J8)

This line expresses personification because it describes the word topaz (in the previous line) as inanimate object that can run like human being. It means that the flower get the safe place for them to avoid the sunlight.

3.4 Hyperbole

This line is classified as hyperbole since there is overstatement on it. It is impossible to run in blood. This line means that there seems to be no comfort of their coming way in facing the problems

2) And blights with plagues the marrieage-hearse (B16)

This line is classified as hyperbole since there is overstatement on it. It is impossible to destroy plagues with the hearse. This line means that there is something affect the livesof all the innocent people involved.

3) They pour sleep on their head (E23)

This line is classified as hyperbole since there is overstatement on it. It is impossible to pour something with sleep. As usual we use liquid to pour. This line means that the angels give the birds to feel very sleepy.

4) Under a cruel eye outworn (F8)

This line is classified as hyperbole since there is overstatement on it. It is impossible to have eye outworn. This line means that

5) And wash the dusk with silver. Soon, full soon (H10)

This line is classified as hyperbole since there is overstatement on it. It is impossible to wash the dusk with silver. This line means a situation where the sky looks grey when the dark is coming.

4. CONCLUSIONS AND SUGGESTIONS 4.1 Conclusions

Having finished analyzing non literal meaning in William Blake‟s selected

poems, it was found some expressions in non literal meaning. All of the types of non literal meaning were used in that poems. They are simile, metaphor, personification and hyperbole.

There are 35 lines using non literal meaning in that poems. There are 2 cases expression simile, 4 cases expression metaphor, 24 cases expressions personification and 5 cases expression hyperbole. The most frequent use of non literal meaning in the poems is personification (24 cases). The use of personification in these poem can show that William Blake is a natural poet who always describes inanimate object as living things.

4.2 Suggestions

From the conlusion above, it is suggested that the students of linguistics especially for those who concentrate with semantics to do more research in field

of non literal meaning. Since personification dominates William Blake‟s poems, it

is also suggested that students of linguistics to analyze other kindsof literary works such as novel, plays, or poems from other author to find more about other kinds of non literal meaning.

REFERENCES

Bloomfield, Leonard. 1993. Language. New York: Hold, Rinehart

Crystal, David. 1980. A First Dictionary of Linguistics and Phonetics. London: Andre Deutsch Limited

De Saussure, Ferdinand. 1974. Course in General Liguistic. London: Fontana Eastwood, John. 2000. Oxford Learner’s Pocket Dictionary. London: Oxford University Press.

Irawan, Hadi. 2012. An Analysis of Non Literal Meanings in Edward Stellin Cummings’s Selected Poems. Medan: Fakultas Sastra USU

Katz, J.J 1972. Semantic Theory. New York: Harper & Row, Publisher

Kennedy, X.J. 1991. Literature An Introduction to Fiction, Poetry and Drama. London: Harper Collins Publisher.

Keraf, Goris. 1991. Diksi dan Gaya Bahasa. Jakarta: Gramedia Pustaka Leech, Geofrey. 2003. Semantik. Yogyakarta: Pustaka Belajar.

Lyons, John.1977. Semantics I. London: Cambridge University Press.

Martin, H & P.C. Wren. 1990. High School English Grammar And Comparison. Nawawi, Hadari.1991. Metode Penelitian Bidang Sosial.Yogyakarta: Gajah Mada University Press.

Nazir, Mohammad. 1986. Metode Penelitian. Jakarta: Ghalian Indonesia

Nikelas, Syahwin. 1988. Pengantar Linguistik Untuk Guru Bahasa. Jakarta: Departemen Pendidikan dan Kebudayaan

Palmer, F.R. 1976. Semantics: A New Outline. London: Cambridge University Press.

Robert, Edgar V. & Jacobs, H.F. 1995. Literature: An Introduction to Reading and Writing. Collection: Prentice Hall

Saeed I, John. 2003. Semantics. Blackwell Publisher Ltd.

Sembiring, Matius C.A. 2014. Kompilasi Bahan Kuliah. Medan: Fakultas Sastra USU

Siswantoro. 2002. Apresiasi Puisi-Puisi Sastra Inggris. Surakarta: Universitas Muhammadiyah Press

Stanford, Judith A. 2003. Responding to Literature Stories, Poems, Plays, and Essays. New York: Mc Graw-Hill, Inc.

Taylor. Richard. 1981. Understanding of Elements of Literature. Hongkong: The Macmillan Press Ltd.

Yuhendra. 2005. An Analysis of Non Literal Meaning in Langston Hughes’s Selected Poems. Medan: Fakultas Sastra USU

APPENDICES DATA A

A Poison Tree

1) I was angry with my friend

2) I told my wrath, my wrath did end. 3) I was angry with my foe:

4) I told it not, my wrath did grow. 5) And I watered it in fears,

6) Night and morning with my tears; 7) And I sunned it with smiles, 8) And with soft deceitful wiles. 9) And it grew both day and night, 10)Till it bore an apple bright. 11)And my foe beheld it shine. 12)And he knew that it was mine, 13)And into my garden stole

14)When the night had veiled the pole; 15)In the morning glad I see

16)My foe outstretched beneath the tree.

DATA B London

1) I wandered through each chartered street, 2) Near where the chartered Thames does flow, 3) A mark in every face I meet,

4) Marks of weakness, marks of woe. 5) In every cry of every man,

6) In every infant's cry of fear, 7) In every voice, in every ban, 8) The mind-forged manacles I hear: 9) How the chimney-sweeper's cry 10)Every blackening church appals, 11)And the hapless soldier's sigh 12)Runs in blood down palace-walls.

13)But most, through midnight streets I hear 14)How the youthful harlot's curse

15)Blasts the new-born infant's tear,

16)And blights with plagues the marriage-hearse.

DATA C Laughing Song

1) When the green woods laugh with the voice of joy, 2) And the dimpling stream runs laughing by;

3) When the air does laugh with our merry wit, 4) And the green hill laughs with the noise of it; 5) when the meadows laugh with lively green, 6) And the grasshopper laughs in the merry scene, 7) When Mary and Susan and Emily

8) With their sweet round mouths sing 'Ha, ha he!' 9) When the painted birds laugh in the shade, 10)Where our table with cherries and nuts is spread: 11)Come live, and be merry, and join with me, 12)To sing the sweet chorus of 'Ha, ha, he!'

DATA D

The Chimney Sweeper: A Little Black Thing Among The Snow

1) A little black thing among the snow, 2) Crying 'weep! 'weep!' in notes of woe! 3) 'Where are thy father and mother? say?' 4) 'They are both gone up to the church to pray. 5) Because I was happy upon the heath,

6) And smil'd among the winter's snow, 7) They clothed me in the clothes of death, 8) And taught me to sing the notes of woe. 9) And because I am happy and dance and sing, 10)They think they have done me no injury,

11)And are gone to praise God and his Priest and King, 12)Who make up a heaven of our misery.'

DATA E Night

1) The sun descending in the west, 2) The evening star does shine; 3) The birds are silent in their nest, 4) And I must seek for mine. 5) The moon, like a flower, 6) In heaven's high bower, 7) With silent delight

8) Sits and smiles on the night.

9) Farewell, green fields and happy groves, 10)Where flocks have took delight.

11)Where lambs have nibbled, silent moves 12)The feet of angels bright;

13)Unseen they pour blessing, 14)And joy without ceasing, 15)On each bud and blossom, 16)And each sleeping bosom.

17)They look in every thoughtless nest, 18)Where birds are covered warm; 19)They visit caves of every beast, 20)To keep them all from harm. 21)If they see any weeping

22)That should have been sleeping, 23)They pour sleep on their head, 24)And sit down by their bed.

25)When wolves and tigers howl for prey, 26)They pitying stand and weep;

27)Seeking to drive their thirst away, 28)And keep them from the sheep. 29)But if they rush dreadful, 30)The angels, most heedful, 31)Receive each mild spirit, 32)New worlds to inherit.

33)And there the lion's ruddy eyes 34)Shall flow with tears of gold, 35)And pitying the tender cries, 36)And walking round the fold, 37)Saying, 'Wrath, by His meekness, 38)And, by His health, sickness 39)Is driven away

40)From our immortal day.

41)'And now beside thee, bleating lamb, 42)I can lie down and sleep;

43)Or think on Him who bore thy name, 44)Graze after thee and weep.

45)For, washed in life's river, 46)My bright mane for ever 47)Shall shine like the gold 48)As I guard o'er the fold.'

DATA F

The Schoolboy

1) I love to rise in a summer morn 2) When the birds sing on every tree; 3) The distant huntsman winds his horn, 4) And the skylark sings with me. 5) O! what sweet company!

6) But to go to school on a summer morn, 7) O! it drives all joy away;

8) Under a cruel eye outworn, 9) The little ones spend the day 10)In sighing and dismay.

11)Ah! then at times I drooping sit, 12)And spend many an anxious hour, 13)Nor in my book can I take delight, 14)Nor sit in learning's bower,

15)Worn thro' with the dreary shower. 16)How can the bird that is born for joy 17)Sit in a cage and sing?

18)How can a child, when fears annoy, 19)But droop his tender wing,

20)And forget his youthful spring?

21)O! father and mother, if buds are nipped 22)And blossoms blown away,

23)And if the tender plants are stripped 24)Of their joy in the springing day, 25)By sorrow and care's dismay, 26)How shall the summer arise in joy,

27)Or the summer's fruits appear?

28)Or how shall we gather what griefs destroy, 29)Or bless the mellowing year,

30)When the blasts of winter appear?

DATA G The Sick Rose

1) Rose, thou art sick! 2) The invisible worm 3) That flies in the night, 4) In the howling storm, 5) Has found out thy bed 6) Of crimson joy:

7) And his dark secret love 8) Does thy life destroy.

DATA H

To the Evening Star

1) Thou fair-haired angel of the evening,

2) Now, whilst the sun rests on the mountains, light 3) Thy bright torch of love; thy radiant crown 4) Put on, and smile upon our evening bed! 5) Smile on our loves, and while thou drawest the 6) Blue curtains of the sky, scatter thy silver dew 7) On every flower that shuts its sweet eyes 8) In timely sleep. Let thy west wing sleep on

9) The lake; speak silence with thy glimmering eyes, 10)And wash the dusk with silver. Soon, full soon, 11)Dost thou withdraw; then the wolf rages wide, 12)And the lion glares through the dun forest. 13)The fleeces of our flocks are covered with

14)Thy sacred dew; protect with them with thine influence.

DATA I

Songs Of Experience: Introduction

1) Hear the voice of the Bard! 2) Who Present, Past, & Future sees 3) Whose ears have heard

5) That walk'd among the ancient trees. 6) Calling the lapsed Soul

7) And weeping in the evening dew; 8) That might controll.

9) The starry pole;

10)And fallen fallen light renew! 11)O Earth O Earth return!

12)Arise from out the dewy grass; 13)Night is worn,

14)And the morn

15)Rises from the slumbrous mass. 16)Turn away no more:

17)Why wilt thou turn away 18)The starry floor

19)The watery shore

20)Is given thee till the break of day.

DATA J

Two Sunflowers Move in the Yellow Room. 1) "Ah, William, we're weary of weather," 2) said the sunflowers, shining with dew. 3) "Our traveling habits have tired us. 4) Can you give us a room with a view?" 5) They arranged themselves at the window 6) and counted the steps of the sun,

7) and they both took root in the carpet 8) where the topaz tortoises run.

APPENDICES DATA A

A Poison Tree

1) I was angry with my friend

2) I told my wrath, my wrath did end. 3) I was angry with my foe:

4) I told it not, my wrath did grow. 5) And I watered it in fears,

6) Night and morning with my tears; 7) And I sunned it with smiles, 8) And with soft deceitful wiles. 9) And it grew both day and night, 10)Till it bore an apple bright. 11)And my foe beheld it shine. 12)And he knew that it was mine, 13)And into my garden stole

14)When the night had veiled the pole; 15)In the morning glad I see

16)My foe outstretched beneath the tree.

DATA B London

1) I wandered through each chartered street, 2) Near where the chartered Thames does flow, 3) A mark in every face I meet,

4) Marks of weakness, marks of woe.

5) In every cry of every man, 6) In every infant's cry of fear, 7) In every voice, in every ban, 8) The mind-forged manacles I hear:

9) How the chimney-sweeper's cry

10)Every blackening church appals, 11)And the hapless soldier's sigh 12)Runs in blood down palace-walls.

13)But most, through midnight streets I hear 14)How the youthful harlot's curse

15)Blasts the new-born infant's tear,

16)And blights with plagues the marriage-hearse.

DATA C Laughing Song

1) When the green woods laugh with the voice of joy, 2) And the dimpling stream runs laughing by;

3) When the air does laugh with our merry wit, 4) And the green hill laughs with the noise of it; 5) when the meadows laugh with lively green, 6) And the grasshopper laughs in the merry scene,

7) When Mary and Susan and Emily

8) With their sweet round mouths sing 'Ha, ha he!' 9) When the painted birds laugh in the shade, 10)Where our table with cherries and nuts is spread: 11)Come live, and be merry, and join with me, 12)To sing the sweet chorus of 'Ha, ha, he!'

DATA D

The Chimney Sweeper: A Little Black Thing Among The Snow 1) A little black thing among the snow,

2) Crying 'weep! 'weep!' in notes of woe! 3) 'Where are thy father and mother? say?' 4) 'They are both gone up to the church to pray. 5) Because I was happy upon the heath,

6) And smil'd among the winter's snow, 7) They clothed me in the clothes of death, 8) And taught me to sing the notes of woe.

9) And because I am happy and dance and sing,

10)They think they have done me no injury,

11)And are gone to praise God and his Priest and King, 12)Who make up a heaven of our misery.'

DATA E Night

1) The sun descending in the west, 2) The evening star does shine; 3) The birds are silent in their nest, 4) And I must seek for mine. 5) The moon, like a flower, 6) In heaven's high bower, 7) With silent delight

8) Sits and smiles on the night.

9) Farewell, green fields and happy groves, 10)Where flocks have took delight.

11)Where lambs have nibbled, silent moves 12)The feet of angels bright;

13)Unseen they pour blessing, 14)And joy without ceasing, 15)On each bud and blossom, 16)And each sleeping bosom.

17)They look in every thoughtless nest, 18)Where birds are covered warm; 19)They visit caves of every beast, 20)To keep them all from harm. 21)If they see any weeping

22)That should have been sleeping, 23)They pour sleep on their head, 24)And sit down by their bed.

25)When wolves and tigers howl for prey, 26)They pitying stand and weep;

27)Seeking to drive their thirst away, 28)And keep them from the sheep. 29)But if they rush dreadful, 30)The angels, most heedful, 31)Receive each mild spirit, 32)New worlds to inherit.

33)And there the lion's ruddy eyes 34)Shall flow with tears of gold, 35)And pitying the tender cries, 36)And walking round the fold, 37)Saying, 'Wrath, by His meekness, 38)And, by His health, sickness 39)Is driven away

40)From our immortal day.

41)'And now beside thee, bleating lamb, 42)I can lie down and sleep;

43)Or think on Him who bore thy name, 44)Graze after thee and weep.

45)For, washed in life's river, 46)My bright mane for ever 47)Shall shine like the gold 48)As I guard o'er the fold.'

DATA F The Schoolboy

1) I love to rise in a summer morn 2) When the birds sing on every tree; 3) The distant huntsman winds his horn, 4) And the skylark sings with me.

5) O! what sweet company!

6) But to go to school on a summer morn, 7) O! it drives all joy away;

8) Under a cruel eye outworn, 9) The little ones spend the day 10)In sighing and dismay.

11)Ah! then at times I drooping sit, 12)And spend many an anxious hour, 13)Nor in my book can I take delight, 14)Nor sit in learning's bower,

15)Worn thro' with the dreary shower. 16)How can the bird that is born for joy 17)Sit in a cage and sing?

18)How can a child, when fears annoy, 19)But droop his tender wing,

20)And forget his youthful spring?

21)O! father and mother, if buds are nipped

22)And blossoms blown away,

23)And if the tender plants are stripped 24)Of their joy in the springing day, 25)By sorrow and care's dismay, 26)How shall the summer arise in joy,

27)Or the summer's fruits appear?

28)Or how shall we gather what griefs destroy, 29)Or bless the mellowing year,

30)When the blasts of winter appear?

DATA G The Sick Rose

1) Rose, thou art sick!

2) The invisible worm

3) That flies in the night, 4) In the howling storm, 5) Has found out thy bed 6) Of crimson joy:

7) And his dark secret love 8) Does thy life destroy.

DATA H

To the Evening Star

1) Thou fair-haired angel of the evening,

2) Now, whilst the sun rests on the mountains, light 3) Thy bright torch of love; thy radiant crown 4) Put on, and smile upon our evening bed! 5) Smile on our loves, and while thou drawest the 6) Blue curtains of the sky, scatter thy silver dew 7) On every flower that shuts its sweet eyes 8) In timely sleep. Let thy west wing sleep on

9) The lake; speak silence with thy glimmering eyes, 10)And wash the dusk with silver. Soon, full soon, 11)Dost thou withdraw; then the wolf rages wide, 12)And the lion glares through the dun forest. 13)The fleeces of our flocks are covered with

14)Thy sacred dew; protect with them with thine influence.

DATA I

Songs Of Experience: Introduction 1) Hear the voice of the Bard! 2) Who Present, Past, & Future sees

3) Whose ears have heard

5) That walk'd among the ancient trees. 6) Calling the lapsed Soul

7) And weeping in the evening dew;

8) That might controll. 9) The starry pole;

10)And fallen fallen light renew! 11)O Earth O Earth return!

12)Arise from out the dewy grass; 13)Night is worn,

14)And the morn

15)Rises from the slumbrous mass. 16)Turn away no more:

17)Why wilt thou turn away 18)The starry floor

19)The watery shore

20)Is given thee till the break of day.

DATA J

Two Sunflowers Move in the Yellow Room. 1) "Ah, William, we're weary of weather," 2) said the sunflowers, shining with dew. 3) "Our traveling habits have tired us. 4) Can you give us a room with a view?"

5) They arranged themselves at the window

6) and counted the steps of the sun, 7) and they both took root in the carpet 8) where the topaz tortoises run.